[rating=6.00]
Credit to where credit is due: Stephen Stills, Kenny Wayne Shepherd and Barry Goldberg refused to allow their cross-generational super-grouping of 2013 to remain a one-shot collaboration. But it’s a fact that, no matter the skill of the musicians involved in any alliance, there’s got to be some fundamental chemistry to be nurtured if the lineup is to become a genuine band and while the Rides would seem to have that, they’re not nurturing it with the overly democratic assignment of responsibility documented on their second album.
Certainly the three principals here are kindred spirits in the blues, at least as depicted in “Get A Kick Out of It’ and “Riva Diva,” two modified shuffles that benefit not just from a staunch rhythm section of bassist Kevin McCormick and drummer Chris Layton (once of Stevie ray Vaughan’s Double Trouble), but the expert production recording and mastering of Pierced Arrow. There’s a paucity of poetry here, so if it seems overkill to include all the lyrics to these ten songs, that attention to detail in packaging allows for the proper credit to engineers Ed Cherney and Bernie Grundman.
If it’s true the ballad is the greatest challenge for any musician, then it’s no small accomplishment to artfully compose arrange and play ones like “Virtual World” and “By My Side.” What might’ve turned to bombast, particularly on the latter, instead remains a study in self-discipline and well-channeled passion on the part of Shepherd, co-composer with keyboardist Goldberg. The placement of this pair of tracks might’ve caused the momentum of the album, such as it is, to grind to a halt if not for the immediate appearance of “Mr. Policeman:” not altogether different from much of the other upbeat material, it’s still an exercise in lithe playing from all involved; in particular, Stills’ lead guitar is as musical as it is restrained.
The Rides deserve some special kudos for not trying too hard to prove themselves within the confines of the studio, an environment where the line between live playing and recording often becomes blurred. While most of this original material isn’t all that memorable—in contrast to the delicious simplicity and humor in the sole cover of Willie Dixon’s “My Babe”–the group is wise to create and maintain structure for themselves on tracks like “Use My Imagination.” There’s no pointless, self-indulgent soloing, here but instead, focused instrumentalizing within economical arrangements for songs such as “By My Side:” Shepherd’s solo says more than the lyrics.
Keeping tracks within the four-to-seven minute mark on Pierced Arrow may in fact be the most pragmatic demonstration of the accumulated experience within this ensemble. That said, given their shared influences, it’s almost inevitable they’d trot out a vintage boogie piece like “I Need Your Lovin’,” where a scorching harp solo by the Fabulous Thunderbirds’ Kim Wilson redeems the cut, compensating for some of the most predictable guitaring on the album, not to mention redundant background vocals.
But Pierced Arrow closes on high notes, including the high-spirits of that aforementioned tune from the Chess Records icon and author of “Back Door Man.” Presumably the primary composer, Stills’ spotlight on “There Was A Place” offers a verbally well-wrought set of reflections, while the small touches of Goldberg’s electric piano and organ accentuate the flow of the tune throughout its duration. Provocative material like this reaffirms the former member of Buffalo Springfield and once and future friend of Crosby, Nash and Young top billing within the Rides and further suggests he take an even more prominent role in their future collaborations as a means to truly distinguish their work together.
